The song sung by Tenesha was inspired from the movie "purple hearts". Steering Sofia Carson and Nicolas Galitzine. Two hearts which later found love amidst the need to satisfy their needs. Sofia Carson known as Cassandra realized the need to write a song that captured her longing to see her lover come home.

Tenesha had captured not just the song, but the emotions and meaning as she sang it through every verse. Her voice echoed every word as if it's her own. According to Tenesha, the movie had inspired her and this could be seen from her free and stressless vocal as she followed the tune of the song to the end.

The song which is meant to be a love song doesn't require energy but emotions. She had put in the most with her calmness and gentleness, and didn't erupt this serene moment with moves. A little bit of longing could be felt from the choice of her sitting, which I believe must have been the exact state Cassandra was in while writing the song to her lover Luke. From the video, I could say she had captured the part of the emotions well and her voice cut through the rhythm of the instrumentals well. Her voice is an added advantage, she sounds more like that of the writer.

Image by @tenesha

I like her choice of song. It is a song that not only has meaning, but one that has inspired her as a person. I believe it was the reason she flowed freely with the lyrics of the song. Music that speaks to us directly has a way of letting one through with no huddle. If a song means something to us, we do not find it hard to sing it through and this is what I noticed from @tenesha's choice of song.

In conclusion, I'll say I was impressed by her performance and I learned something from it-Our connection with a song is a gateway to an impressive performance with no huddle. The more a song speaks to us, the more we are connected to a song, the easier the flow, regardless of voice and distractions within.

I hope that you check her post out via this link vibes Web3 Music Competition by @tenesha

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¡Gracias por leerme, hasta luego!

Thank you for reading me, see you later !

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Trap es de esas pelis que no sabes si amarla u odiarla, siempre me han gustado las películas de M Night Shyamalan pero cuando vi The Last Airbender, me decepcioné entonces cuando este tipo anuncia una peli siempre estyo así como a la defensiva esperando que será otro desastre y que también regrese a sus días dorados de The Sixth Sense. Bueno con Trap decidió hacer algo diferente mezclando un thriller psicológico con un concierto de pop, que suena raro pero la verdad es que Josh Hartnett hace un trabajo tremendo interpretando a Cooper, un tipo que al principio parece el papá perfecto llevando a su hija a ver a su cantante favorita pero que rápidamente te das cuenta que hay algo muy turbio debajo de esa sonrisa ensayada. La idea principal es bastante buena porque quien no ha pensado alguna vez en como sería quedar atrapado en un lugar lleno de policías cuando tienes algo que esconder, excepto que en este caso Cooper no es un ladrón común sino un asesino serial conocido como The Butcher que está siendo cazado por el FBI en una operación masiva durante el concierto. Lo que más me gustó de la primera parte de la peli fue esa tensión constante de ver como Cooper trata de mantener la calma frente a su hija mientras internamente está buscando cualquier forma de escapar sin levantar sospechas, Josh Hartnett logra transmitir esa doble vida de manera creíble aunque a veces parece que está sobreactuando un poquito.

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Ahora el problema que yo le veo a Trap es que parece que Shyamalan no sabía si quería hacer una película de suspenso psicológico o algo para promocionar a su hija Saleka como cantante, porque honestamente hay demasiadas secuencias del concierto que parecen más un video musical que como partes importantes de la trama principal. No estoy hablando mal porque la muchacha tiene talento y puede cantar bastante bien, pero cuando estás en medio de una película sobre un asesino serial tratando de escapar de una trampa del FBI lo último que quieres ver son cinco minutos completos de canciones que no dan nada a la historia central, yo sentí que estaba viendo dos películas diferentes y que las editron juntas. La hija de Cooper se llama Riley y está bien interpretada pero su personaje existe practicamente para crear momentos emotivos forzados y para justificar por qué Cooper no puede matar a todo el mundo y salir corriendo, aunque debo admitir que algunas de sus interacciones con Lady Raven sí funcionan bien para mostrar lo manipulador que puede ser Cooper cuando necesita conseguir algo. La sparte donde Cooper se las ingenia para que su hija sea la dreamer girl elegida para subir al escenario fue inteligente y mostró como este tipo puede usar su conocimiento de la psicología humana para manipular situaciones a su favor, pero después de eso la película se echa a perder y van pasando cosas que no te las crees. Uno de los momentos más ridículos fue cuando Cooper de alguna manera se las arregla para infiltrarse en una reunión policial super secreta simplemente robandose una identificación y actuando como si perteneciera ahí como si los agentes del FBI fueran completamente ciegos y sordos, eso de pana que fue super falso.

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Todo se va al carajo en la segunda mitad de Trap porque Shyamalan decide convertir la película en algo completamente diferente, abandonando el thriller psicológico que de hecho me hacía sentir claustrofobia de lo bien que lo estaba construyendo y la convierte en algo que es una película de acción pero malaaa con persecuciones de carros y escenas de rehenes que parecen sacadas de una peli de los años 90. El momento donde Lady Raven decide convertirse en detective amateur y ayudar a resolver el caso usando Instagram Live fue demasiado absurdo y sllí dije se pasaron de ridículos y la verdad la película me perdió completamente, porque una estrella de pop de 20 años no va a arriesgar su vida y su carrera con un asesino serial peligroso que puede matar a su rehén sin pensarlo. Lo peor fue cuando Cooper secuestra a Lady Raven y la lleva a su casa para conocer a su familia o sea la esposa aparentemente nunca sospechó nada durante años de matrimonio a pesar de que este tipo sale a matar gente siempre y regresa a casa con ropa manchada de sangre y actitud sospechosa. La escena donde Cooper le explica a Lady Raven todos sus traumas de la infancia mientras ella finge ser su madre fue probablemente lo más cringe de toda la película, como si Shyamalan hubiera decidido que necesitaba meter terapia psicológica barata para explicar por qué es el malo, ahora que lo recuerdo siempre como que hay una escena con algo de terapia en las películas de Shyamalan. Josh Hartnett hace lo que puede pero hay límites a lo que cualquier actor puede lograr cuando todo es tan ilgócio más en esas escenas donde Cooper aparentemente puede teletransportarse y aparecer en lugares imposibles sin que nadie lo vea.

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Yo creo que Trap tenía todos los ingredientes para ser una película realmente buena si Shyamalan hubiera mantenido el foco en la idea central en lugar de desviarse hacia todas estas subtramas innecesarias que no agregan nada a la historia principal, la verdad eso me frustra un pcoo porque el tipo tiene una mente increíble pero otra vez no lo logró. La idea de un asesino en serie atrapado en un concierto lleno de policías es oro puro para un thriller psicológico, pero no se hizo muy bien fue tan dispero que no logró construir la tensión sostenida que necesita este tipo de película para funcionar, cada vez que empezaba a creer que la cosa se estaba poniendo intensa aparecía otra secuencia musical o otra decisión de personaje completamente ilógica que rompe con cualquier suspenso que se había logrado crear. El final con Cooper escapándose otra vez después de haber sido capturado miles de veces es tan conveniente que da risa, como si el tipo fuera Houdini en lugar de un contador con problemas mentales jajaja y esa escena post créditos donde insinúan una secuela fue hasta peor porque dije ni loca la veo. Y que decir de la actuación de la esposa cuando descubre que su marido es un asesino en serie fue terriblemente mala, como si estuviera reaccionando a que le dijeron que se olvidó de comprar leche en lugar de enterarse de que ha estado durmiendo al lado de un psicópata por años, y no me hagas hablar de esa persecución final donde Cooper de alguna manera sobrevive a un accidente de carro que debería haberlo matado de una.

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Bueno que te puedo decir de Trap creo que no es tan mala porque Josh Hartnett realmente se entrega al papel y logra crear algunos momentos que son perturbadores donde puedes ver la mente calculadora y fría de Cooper trabajando detrás de esa fachada de padre de familia perfecto. Yo le doy un 5.5/10, la primera parte me gustó y funciona bastante bien como estudio de personaje de un psicópata tratando de mantener su máscara social mientras está bajo presión extrema, y en esos momentos Shyamalan demuestra que todavía tiene talento para crear tensión cuando se concentra en lo que está haciendo en lugar de tratar de ser demasiado inteligente con sus cambios de historia. En cuanto a la escenografía se logra mostrar esa energía del concierto donde todos están como locos y te da como clausitrofobia imaginarte que estas atrapado en un lugar donde no puedes escapar pero ni siquiera eso es suficiente para lograr salvar la película que claramente no sabía qué quería ser desde el principio. Yo creo que perdieron la oportunidad de hacer algo bueno porque tenían una idea intrigante y se echo a perder creo que por meter muchas cosas no se si fue demasiada creatividad, me pareció que el director que perdió el rumbo a mitad de camino, creo que si hubiera mantenido el foco en el aspecto psicológico y hubiera quitado todas esas escenas musicales innecesarias podría haber sido algo realmente bueno, pero como está ahora es solo otra película mediocre de Shyamalan, que lástima la verdad.

[ENGLISH VERSION]

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Trap is one of those movies that you don't know whether to love it or hate it, I have always liked M Night Shyamalan's movies but when I saw The Last Airbender, I was disappointed so when this guy announces a movie I'm always kind of on the defensive hoping that it will be another disaster and that he will also go back to his golden days of The Sixth Sense. Well with Trap he decided to do something different by mixing a psychological thriller with a pop concert, which sounds weird but the truth is that Josh Hartnett does a tremendous job playing Cooper, a guy who at first seems like the perfect dad taking his daughter to see her favorite singer but you quickly realize that there is something very shady underneath that rehearsed smile. The main idea is pretty good because who hasn't ever thought about what it would be like to be trapped in a place full of cops when you have something to hide, except in this case Cooper isn't a common thief but a serial killer known as The Butcher who is being hunted by the FBI in a massive operation during the concert. What I liked most about the first part of the movie was that constant tension of watching Cooper trying to keep calm in front of his daughter while internally he is looking for any way to escape without raising suspicions, Josh Hartnett manages to convey that double life in a believable way although sometimes it seems that he is overacting a little bit.

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Now the problem I see with Trap is that it seems that Shyamalan didn't know if he wanted to make a psychological thriller or something to promote his daughter Saleka as a singer, because honestly there are too many sequences of the concert that seem more like a music video than important parts of the main plot. I'm not talking bad because the girl is talented and can sing pretty well, but when you're in the middle of a movie about a serial killer trying to escape an FBI trap the last thing you want to see is five full minutes of songs that give nothing to the central story, I felt like I was watching two different movies and editing them together. Cooper's daughter is named Riley and she is well played but her character exists practically to create forced emotional moments and to justify why Cooper can't just kill everyone and run away, although I must admit that some of her interactions with Lady Raven do work well to show how manipulative Cooper can be when he needs to get something. The sparte where Cooper manages to get his daughter to be the dreamer girl chosen to go on stage was clever and showed how this guy can use his knowledge of human psychology to manipulate situations to his advantage, but after that the movie spoils and things happen that you just don't believe. One of the most ridiculous moments was when Cooper somehow manages to infiltrate a super secret police meeting by simply stealing an ID and acting like he belonged there as if the FBI agents were completely blind and deaf, that was super fake.

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Everything goes to hell in the second half of Trap because Shyamalan decides to turn the movie into something completely different, abandoning the psychological thriller that actually made me feel claustrophobic because of how well he was building it and turns it into something that is an action movie but badass with car chases and hostage scenes that look like something out of a 90's movie. The moment where Lady Raven decides to become an amateur detective and help solve the case using Instagram Live was too absurd and sllí I said they went over the top ridiculous and the truth the movie lost me completely, because a 20 year old pop star is not going to risk her life and career with a dangerous serial killer who can kill her hostage without thinking about it. The worst was when Cooper kidnaps Lady Raven and takes her home to meet his family or the wife apparently never suspected anything during years of marriage even though this guy goes out to kill people all the time and comes home with blood stained clothes and suspicious attitude. The scene where Cooper explains to Lady Raven all his childhood traumas while she pretends to be his mother was probably the most cringe in the whole movie, as if Shyamalan decided he needed to throw in some cheap psychological therapy to explain why he's the bad guy, now that I remember it always kind of like there's a scene with some therapy in Shyamalan's movies. Josh Hartnett does what he can but there are limits to what any actor can accomplish when everything is so illogical plus in those scenes where Cooper can apparently teleport and appear in impossible places without anyone seeing him.

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I think Trap had all the ingredients to be a really good movie if Shyamalan had kept the focus on the central idea instead of straying into all these unnecessary subplots that add nothing to the main story, actually that frustrates me a little bit because the guy has an amazing mind but again he didn't pull it off. The idea of a serial killer trapped in a concert full of cops is pure gold for a psychological thriller, but it wasn't done very well it was so sloppy that it failed to build the sustained tension that this kind of movie needs to work, every time I started to think it was getting intense another musical sequence would appear or another completely illogical character decision that breaks any suspense it had managed to create. The ending with Cooper escaping again after being captured thousands of times is so convenient that it's laughable, as if the guy was Houdini instead of an accountant with mental problems hahaha and that post-credits scene where they hint at a sequel was even worse because I said no way I'm watching it. And what to say about the wife's acting when she discovers her husband is a serial killer was terribly bad, as if she was reacting to being told she forgot to buy milk instead of finding out she's been sleeping next to a psychopath for years, and don't even get me started on that final chase where Cooper somehow survives a car accident that should have killed him outright.

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Well what can I say about Trap I think it's not that bad because Josh Hartnett really delivers on the role and manages to create some moments that are disturbing where you can see Cooper's calculating and cold mind at work behind that perfect family man facade. I give it a 6/10, I liked the first part and it works quite well as a character study of a psychopath trying to maintain his social mask while under extreme pressure, and in those moments Shyamalan shows that he still has a talent for creating tension when he concentrates on what he's doing rather than trying to be too clever with his story changes. In terms of the set design it manages to show that energy of the concert where everyone is going crazy and it makes you kind of clausitrophobic to imagine being trapped in a place where you can't escape but even that isn't enough to save the film which clearly didn't know what it wanted to be from the beginning. I think they lost the opportunity to do something good because they had an intriguing idea and it was spoiled I think by putting too many things in it, I don't know if it was too much creativity, it seemed to me that the director lost his way half way through, I think if he had kept the focus on the psychological aspect and removed all those unnecessary musical scenes it could have been something really good, but as it is now it's just another mediocre movie from Shyamalan, what a pity really.

TranslatedwithDeepL 

Posted Using INLEO

I have been a fan f the Alien franchise ever since I saw the Alien toy in the Sears Wish Book way back in 1979. I was only about 8 years old then so, luckily for me, I had not even seen the movie yet. But by the ripe old age of 11 I had seen Alien about 20 times (many of which I viewed while eating breakfast for some weird reason). But let's look past that bad parenting for a little bit and continue. When Aliens came out in 1986, I could not wait to see it. I saw it in the theater at least four times (it was very easy to sneak in to R rated movies back then). Since then I have watched it at least another 50 times. And that is no exaggeration. Aliens is the best sci-fi action movie of all time. I don't even know if there is a close second place.

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Because I loved those first two movies so much, I have seen every installment in the Alien franchise. Sadly, most of them since 1986 have been terrible. Alien 3 on the prison planet? Terrible? Alien 4 with Winona Ryder and swimming Aliens? Terrible. Alien vs Predator? Surprisingly terrible. Alien vs Predator: Requiem? Terrible. Prometheus? Boring but not absolutely terrible. Alien Covenant? Also boring but not totally terrible. Alien Romulus? Not bad and pretty entertaining.

But now there is Aline Earth. Although there have only been two episodes, I can already say it is the best Alien content since 1986. Even though I have been burned repeatedly over the past 40 years, for some reason, I had high hopes for Alien Earth. The first two episodes far surpassed those high expectations. It is freaking awesome! Geiger's creation is back doing what it does back. She is hiding, scaring the shit out of me, and destroying everything in her path. It is simply incredible! My only complaint is that I didn't find a theater that was showing the first two episodes of the show on a giant screen. It would have been perfect seeing this in Dolby Vision with perfect sound.

Just like the first two, the story, action and sound is incredible. Jaws taught filmmakers that the score of a movie can create more terror than almost any visual and the original Alien proved this to be true. Even though no one can hear you scream in space, they can hear you scream in a theater with the right sound and visual effects. The creators of Alien Earth clearly remember this and have used this idea to create one of the coolest things I have ever seen on my TV screen. Where is the Alien going to come from? Who knows? Maybe she is right behind you right now! (Damn it. If I had some cool music I could have scared you).

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To be honest, if the show had simply been an Alien makes it to earth and people run around trying to kill it for eight hours of television I would have been completely satisfied. But instead of just doing this, they actually wrote a story. And it is an incredible one so far. In the year 2120 (2 years before the original Alien movie) the solar system is run by four (or perhaps five) corporations that act like countries. They are competing to create the technology that will make them the ultimate force in the solar system. So needless to say, harnessing the power of an Alien would give them a huge advantage.

But these corporations aren't just waiting around for a win to fall in their laps. They are all actively competing to produce the next great thing in human/machine evolution. We learn in the first five minutes that one corporation has figured out how to transfer a child's mind into a robot's body. This sounds really cool but add in the fact that the writers saw the similarity between children living forever in a robot body and the lost boys who live in Peter Pan's Neverland and it becomes downright brilliant! All of the children/robots have names from Peter Pan. They also act like children in adult bodies. Imagine if Tom Hanks in Big had super powers and you can imagine these creations in Alien Earth.

I honestly don't want to say too much more as I try to avoid spoilers at all costs, but please know, Alien Earth is cinema quality and incredibly exciting. The special effects and action sequences are simply incredible. You won't see anything better in a theater. And this should come to no surprise. It has been said that Alien Earth cost $250 million to make. FX is not playing around. And it shows.

If you like Sci-Fi action, you simply must watch this show. I have never seen anything like it before on the small screen.

And for those of you who remember the Sears Wish Book...

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FULL VERSION ESPAÑOL

This post is in Spanish and English. You can go to the post in English by clicking HERE

  Saludos mis Otakus favoritos de #TheAnimeRealm espero que estén disfrutando de su fin de semana. Hace poco estrenaron en Netflix la segunda parte de uno de los personajes más peculiares que he visto en el mundo del animé. Se trata de Mononoke II: Las cenizas de la ira y pues no pude dejarla de ver ya que estaba pendiente de su estreno y de verla luego haberles compartido Mi Opinión sobre su primera parte.

  Esta parte me gustó más que la primera. Aquí pulieron algunos detalles artísticos y para ser franca, me agradó que no pegara tanto a la vista ver sus múltiples mezclas de colores por todas sus escenas y lograba enfocarme más en sus personajes y no tanto en su ambiente.

  Entiendo que quisieran hacer un trabajo sumamente artístico pero creo que en la primera parte se les fue la mano y aunque en esta segunda entrega mantuvieron su estilo, lo sentí diferente ya que no me dolió la cabeza luego de verla ni me mareé en el proceso. Si, soy así de sensible con tanta cantidad de colores estilo Caleidoscopio.

  Y es que no puedo evitar de comparar este film con la forma de un caleidoscopio, puesto que es así como lo muestran en el film. Cada escena tiene movimiento, incluso lo que debería permanecer inmóvil, como los objetos, todo se mueve.

  Y es por esta razón que tengo mis dudas en darle una oportunidad a su animé. Sólo me he visto las películas porque me resultan bastante buenas por sus tramas más que todo y como buena Otaku, tolero ciertas extravagancias de algunos autores bastante inspirados. El caso de Mononoke para mí es único y lo catalogo como El Psicodélico.

  Lo que me gustó de esta película es que fueron al grano, no le dieron tantas vueltas ni tantas explicaciones para poder llegar al meollo del problema y darle una solución. La historia se desarrolla en el mismo Ooku que muestran en la primera parte, de hecho la historia empieza donde terminó la primera, detalle que me agradó bastante.

  Y es que en este palacio siguen ocurriendo circunstancias cargadas de emociones fuertes que desatan el despertar de un Mononoke para saldar las cuentas con quienes lo invocan. Es allí donde entra nuestro Heroico Boticario para calmar la situación y regresar todo a la normalidad.

  Sin embargo, la historia no muestra a este Mononoke como si fuese un villano o un ente que desata el mal dentro del palacio sólo porque sí. Más bien es todo lo contrario. Esta película demuestra la otra profesión o mejor dicho el verdadero significado de la profesión del Boticario como tal.

  La cual no es otra sino darle paz a los espíritus errantes que llegan a manifestarse y que quedan anclados al lugar por el sufrimiento y la falta de perdón que se vivió durante el momento de una trágica muerte. Así que esta perspectiva no logré verla en la primera película y tal vez si fue planteada pero me perdí entre tantos colores y siluetas.

  La verdad es que, cada Mononoke que se enfrenta al boticario, lo hace para hacer justicia a su sufrimiento y proteger a quien se le quiere hacer daño repitiendo la misma historia de muerte que se llevó a cabo hace tantos años y cuya emoción quedó tan profundamente arraigada al ser tan fuerte que no queda de otra que exorcizar el lugar una y otra vez.

  Y al igual que el tema que relatan en esta película, yo me considero creyente de que las emociones negativas pueden llegar a ser tan fuertes que la persona que las sintió y murió sintiéndolas, queda en pena porque no logra alcanzar el perdón o el arrepentimiento en el momento de su muerte. De allí que en ciertos lugares queden almas en pena o se consideren embrujados.

  Por mantener su estilo artístico, bajarle 2 a los diseños psicodélicos y hacerlo visualmente más atractivo para el espectador, además de tan buena historia desarrollada, yo te la recomiendo, si buscas ver algo diferente. De mi parte le otorgo sus:

Al Final del post puedes ver el Trailer de la Serie o pincha AQUI para ir allá

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  Greetings my favorite Otakus from #TheAnimeRealm, I hope you are enjoying your weekend. Recently, the second part of one of the most peculiar characters I've seen in the world of anime was released on Netflix. It's Mononoke II: Ashes of Wrath and well, I couldn't stop watching it since I was waiting for its premiere and to see it after having shared with you My Opinion about its first part.

  I liked this part more than the first. They polished some of the artistic details here, and to be honest, I liked that the multiple color combinations throughout the scenes weren't so visually overwhelming, allowing me to focus more on the characters rather than the setting.

  I understand that they wanted to make a highly artistic work, but I think they went too far in the first part. Although they maintained their style in this second installment, it felt different since I didn't get a headache after watching it, nor did I get dizzy during the process. Yes, I'm that sensitive to so many Kaleidoscope-style colors.

  And I can't help but compare this film to the shape of a kaleidoscope, since that's how it's portrayed in the film. Every scene has movement, even things that should remain motionless, like the objects, everything moves.

  And it's for this reason that I'm hesitant to give the anime a chance. I've only seen the movies because I find them quite good, mostly for their plots, and as a good otaku, I tolerate certain extravaganzas from some rather inspired authors. Mononoke is unique to me, and I categorize it as The Psychedelic.

  What I liked about this film is that they got straight to the point, without beating around the bush or explaining things too much, so they could get to the heart of the problem and find a solution. The story takes place in the same Ooku as the first part; in fact, the story picks up where the first one left off, a detail I quite liked.

  And in this palace, emotionally charged circumstances continue to occur, triggering the awakening of a Mononoke to settle the score with those who summon him. This is where our Heroic Apothecary comes in to calm the situation and return everything to normal.

  However, the story doesn't portray this Mononoke as a villain or an entity who unleashes evil within the palace just for the sake of it. Quite the opposite. This film demonstrates the other profession, or rather, the true meaning of the Apothecary profession itself.

  Which is none other than to bring peace to the wandering spirits who come to manifest themselves and are anchored to the place by the suffering and lack of forgiveness experienced during the moment of a tragic death. So I didn't see this perspective in the first film, and perhaps it was raised, but I got lost among so many colors and silhouettes.

  The truth is that each Mononoke who confronts the apothecary does so to do justice to his suffering and protect whoever wants to hurt him by repeating the same story of death that took place so many years ago and whose emotion became so deeply rooted by being so strong that there is no choice but to exorcise the place again and again.

 And just like the theme portrayed in this film, I believe that negative emotions can become so strong that the person who experienced them and died feeling them is left in sorrow because they cannot find forgiveness or repentance at the moment of death. Hence, in certain places, souls remain in sorrow or are considered haunted.

  For maintaining its artistic style, toning down the psychedelic designs by two degrees, making it more visually appealing to the viewer, and for having such a well-developed story, I recommend it if you're looking for something different. For my part, I give it its:

𝐓𝐫𝐚𝐢𝐥𝐞𝐫

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Why We Fight (S01E09)

Airdate: October 28th 2001

Written by: John Orloff Directed by: David Frankel

Running Time: 55 minutes

While Band of Brothers has justifiably earned acclaim for its visceral, ground-level portrayal of the Second World War, its fundamental narrative structure invites a persistent critique: by concentrating almost exclusively on the microcosm of Easy Company, 506th Parachute Infantry Regiment, 101st Airborne Division, the series risks presenting their harrowing journey as an isolated saga, a single cog seemingly disconnected from the vast, grinding machinery of the global conflict. This approach, however effective for human drama, necessitates that the series periodically step back to contextualise the unit’s sacrifices within the broader strategic and moral imperatives of the war. The penultimate episode, Why We Fight, attempts precisely this crucial contextualisation. It delivers some of the most profoundly disturbing and emotionally resonant moments in the entire ten-part series, forcing both the characters and the audience to confront the war’s ultimate horror. Yet, in its very ambition to transcend the parochial struggles of Easy Company and articulate the raison d'être for the Allied effort, the episode stumbles into significant historical inaccuracies and tonal inconsistencies that undermine its otherwise powerful message, generating controversy that persists to this day.

The episode’s title, deliberately echoing Frank Capra’s seminal WWII propaganda documentary series commissioned by the US government, establishes an immediate, almost ironic, tension. In April 1945, as the episode opens, the grand philosophical question of "why we fight" is utterly remote from the minds of the weary men of Easy Company. With the Third Reich collapsing, their immediate concerns are starkly mundane: survival, scavenging for food, acquiring luxuries like cigarettes or alcohol, and, for some, exploiting their position as conquerors for casual sex. This is epitomised by Captain Lewis Nixon (Ron Livingston), the nominal protagonist and Major Winters' (Damian Lewis) closest friend. Nixon, now serving as 2nd Battalion Operations Officer, is consumed by his quest for Vat 69, his favoured whiskey, a pursuit symptomatic of a deepening alcoholism. Simultaneously, he receives the devastating news that his wife has divorced him, taking their home, child, and even his dog – personal tragedies that, while profound for Nixon, feel almost trivial against the backdrop of the continent’s collapse. This focus on the soldiers' immediate, often ignoble, preoccupations – drinking, stealing chickens, and the seduction of local woman - including Tom Hardy’s screen debut as Private Janovec in a brief but memorable sex scene, contrasting with Lutz’s (Rick Gomez) slap-inducing misadventure – creates a deceptively light, almost farcical opening. It lulls the viewer, mirroring the soldiers' own sense of anticlimax, before the brutal pivot.

That pivot arrives with shattering force in Bavaria. Sent ostensibly to counter the mythical "Alpine Redoubt" where fanatical Nazis might wage guerrilla war, Easy Company occupies Landsberg. A patrol venturing into the surrounding woods stumbles upon a satellite camp of the Kaufering complex – a scene of unimaginable horror. They find thousands of emaciated, skeletal prisoners, many already dead or dying, abandoned by the SS who lacked the ammunition to murder them all before fleeing. The sheer scale of the suffering, the living skeletons crawling in the mud, confronts the hardened veterans with a reality that transcends battlefield trauma. Captain Winters, visibly shaken, attempts to organise immediate aid – water, minimal food – but is swiftly informed by medical personnel that overfeeding will kill the survivors; their bodies, ravaged by starvation, can only tolerate minuscule rations. The US Army then orders the bewildered local German populace, who protest ignorance of the camp’s existence, to bury the mountains of corpses – a grim, necessary act of accountability forced upon the civilian population. It is Nixon, amidst this maelstrom of horror, who delivers the final, almost mundane, update: Hitler is dead by suicide, and Easy Company is to proceed to Berchtesgaden to secure the Führer’s Eagle’s Nest.

Why We Fight thus functions as a crucial symbolic bridge between Steven Spielberg’s two defining WWII films. Up to this point, Band of Brothers had effectively served as a sprawling, episodic extension of the visceral combat and brotherhood explored in Saving Private Ryan. Here, the episode pivots irrevocably towards the moral universe of Schindler’s List. Director David Frankel, whose own family members perished in the Holocaust, handles the camp discovery with unflinching restraint and profound empathy. He avoids gratuitous gore, focusing instead on the soldiers' stunned reactions, the overwhelming scale of the suffering, and the sheer logistical nightmare of the aftermath. The camera lingers on faces – both prisoner and liberator – forcing the audience to share in the shock, the nausea, and the dawning comprehension. This sequence is the episode’s undeniable core, its gut-punch. It reframes everything that has come before: Easy Company’s battles, their losses, their struggles through Normandy, Netherlands, and the Bulge, were not merely part of a conventional war for territory. They were integral components in a titanic struggle against an evil that sought the systematic eradication of entire peoples. The episode posits, unequivocally, that this knowledge – even if only fully grasped after the event by the soldiers themselves – imbues their sacrifices with a profound, world-saving significance. The war was a fight between Good and Evil, and their contribution, however small it seemed within their own unit, was vital.

The episode further attempts to illustrate the overwhelming scale of the Allied victory through a visually spectacular sequence: vast columns of US mechanised forces thundering down the Autobahn towards Bavaria, while in the opposite direction, seemingly endless streams of German POWs march on foot. It’s a powerful image of industrialised warfare meeting its inevitable end. However, this impact is significantly diluted by Private Webster’s (Eion Bailey) mocking the Germans for the lack motorised transport, quipping about their logistical failures. This flippant commentary, while perhaps reflecting a common soldier’s attitude, feels jarringly trivialising amidst the episode’s gravest subject matter, undermining the scene’s intended epic weight.

Other elements, however, falter more noticeably. The recurring motif of a small German string quartet playing Beethoven amidst the rubble of Landsberg, used as a framing device, feels excessively "artsy" and pretentious. It imposes an unwarranted layer of aestheticised melancholy onto the immediate, brutal reality of occupation and discovery, clashing tonally with the raw horror of the camp sequence. Similarly, a brief but potent scene depicting French soldiers summarily executing German POWs, witnessed with horror by passing US paratroopers, serves as a chilling foreshadowing of potential moral collapse in the face of such depravity. Yet, its historical credibility is shattered by a glaring anachronism: the French troops are depicted wearing the distinctive Adrian helmets of WWI, not the helmets actually used by French forces in 1945. This unnecessary error, while visually identifying them as French, instantly pulls the informed viewer out of the narrative.

The most significant and enduring criticism, however, centres on historical inaccuracy. The episode depicts Easy Company and the 101st Airborne as the liberators of the Kaufering concentration camp complex. In stark reality, Kaufering IV (Landsberg) was liberated on 27th April 1945 by Combat Command B of the US 12th Armored Division. Elements of the 101st Airborne did arrive the following day and assisted in managing the camp and its survivors, but they were not the liberators. This conflation, while perhaps driven by dramatic necessity to maintain the series' focus on Easy Company, is profoundly problematic. It appropriates the pivotal, traumatic moment of liberation from the unit that actually experienced it. In an era where Holocaust denial and historical revisionism are increasingly vocal, eight decades after the events, such narrative liberties carry dangerous weight. When a globally influential series like Band of Brothers alters such a fundamental detail – the identity of the liberators at a site of industrialised murder – it risks eroding public trust in historical narratives altogether. The episode’s powerful moral message about confronting evil is tragically weakened by its own failure to adhere strictly to the historical record it seeks to honour.

Why We Fight remains an essential, emotionally devastating chapter in Band of Brothers. Its unflinching portrayal of the Holocaust’s aftermath provides the series with its crucial moral anchor, transforming Easy Company’s story from a tale of military endurance into a testament to the necessity of defeating Nazism. Yet, the episode’s legacy is irrevocably tied to its flaws: the jarring tonal shifts, the unnecessary anachronisms, and, most damningly, the misattribution of the camp’s liberation. By sacrificing historical precision at the altar of narrative cohesion, Why We Fight achieves profound emotional impact but ultimately undermines its own vital argument about the absolute importance of bearing witness to the truth.

RATING: 8/10 (+++)

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In the beginning of the movie it is shown that a little boy is brushing his teeth in the morning, but he can't see himself properly in the mirror in front of the basin, then he gets ready and leaves for school, while the class is going on, madam writes something on the blackboard, madam asks the boy to answer the question that is written on the blackboard, but he can't answer anything because he can't see anything written on the blackboard because he has problems with his eyes, he can't see far away things. This is exactly how the director started the movie. In the beginning, it is shown that the boy is the lead character of this movie means the hero of this movie. Hero's childhood difficulties have been shown. In the beginning, the director's movie started very normally, and you will find the beginning very exciting or like it.

Shah Rukh Khan's acting is very well known all over the world; most of his films are super duper hits, and this movie is no exception, because the way the director has presented this movie and the way Shah Rukh Khan has acted, it is common for this movie to become a super hit. Everyone who has acted in this movie has acted very well, due to which the movie has turned out very well and has received a great response from the audience.

Those who have seen this movie will agree with me, and I will tell my friends who haven't seen this movie yet. If you have seen Bollywood movies, then you can watch this movie if you want. I hope you will like this movie.

Muy buenas amigos de internet y de toda esta plataforma les deseo un feliz sabado para todos y les mando un gran abrazo. Hoy la ediciòn sera sobre la trama de la telenovela LA DOÑA, protagonizda por lila morillo en sus años de diva, asi que vamos al reportaje.

La Doña es una telenovela venezolana producida por RCTV en 1972, basada en una historia original de Inés Rodena, adaptada por ella misma y Carlos Romero. Fue dirigida por Arquímedes Rivero y producida por Román Chalbaud. Los roles principales fueron interpretados por Lila Morillo (quien fue reemplazada por Agustina Martín en las semanas finales), y junto a Elio Rubens y Belén Díaz.

-Título:La Doña. -Canal:RCTV. -Año de emisión:1972 (del 19 de abril al 29 de junio, de lunes a viernes a las 7:00 pm). -Guion & Adaptación:Inés Rodena (historia original); adaptación la misma Inés Rodena y Carlos Romero. -Dirección:Arquímedes Rivero. -Productor:Román Chalbaud. -Protagonistas:Lila Morillo (posteriormente reemplazada por Agustina Martín), Elio Rubens. -Número de episodios:Aproximadamente 54 capítulos. -Género:Melodrama / Drama romántico. -País:Venezuela. -Idioma:Español.

Doménica, joven bella y amable, sufre una transformación radical el día de su boda cuando descubre que su novio la utiliza y la abandona en el altar. Aún sin saber que su traición incluye una relación con su propia prima Norma, Doménica huye a la hacienda heredada de su padre. Dolida y resentida, decide imponerse con dureza sobre la hacienda y el pueblo, ganándose el apodo de “La Doña”.

En su nuevo dominio, se enfrenta a Genaro, capataz corrupto, a quien derrota con su fuerza de carácter. Más tarde aparece Darío, el único hombre capaz de hacerla flaquear. Aunque intentan resistir sus sentimientos, en medio de conflictos, nace un amor profundo. La llegada inesperada de su exnovio y los planes de su prima Norma —que también corteja a Darío— desatan una trama de intrigas, traición y confrontación familiar. Finalmente, el mal de Norma y Genaro queda al descubierto, abriendo la puerta a la felicidad de Doménica y Darío.

La Doña fue un melodrama intenso que consolidó y fortaleció el enfoque narrativo emocional de las telenovelas venezolanas de principios de los años 70. Lila Morillo ofreció una presencia poderosa como Doménica, perfilando a una mujer que se transforma del dolor al poder. Elio Rubens y Belén Díaz completaron la trinidad actoral principal, cada uno aportando matices en medio de un drama cargado de pasión.

La transición a Agustina Martín en las semanas finales, debido al despido de Lila Morillo, añadió una capa de controversia que terminó inclinando la producción hacia un cierre abrupto.

Con una duración relativamente breve de 54 capítulos y un horario prime time diario, la telenovela alcanzó ser reconocida y rememorada, además de inspirar múltiples versiones y adaptaciones posteriores en diversos países.

La Doña (1972) es una pieza emblemática en la historia de la telenovela venezolana. Su fuerza narrativa, guiada por una protagonista transformada por el dolor y convertida en símbolo de poder y resiliencia, la convirtió en una producción intensa y memorable. Aunque su final fue inesperado por cambios en el elenco, la historia dejó huella y alimentó futuras adaptaciones en la región.

Bueno mi gente esto es todo por la ediciòn dle dia de hoy, espero les guste este trabajo y que sigamos rememorando estas grandes actuaciones y obras increibles de la tv Venezolana. Bendiciones para todos.

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Good afternoon, blogging friends, here I am again reviewing a drama I enjoyed! Catch the Ghost. Initially, this drama didn't inspire me. I started watching it because Amazon was going to remove it, and surprise! I fell in love with it, so much so that I marathoned the episodes to finish it! It could be defined as a thriller/comedy/detective story; there are funny parts but also many serious ones. The series is set primarily on the subway, and the protagonists are both Metropolitan Police officers. The series opens with an unsolved case: the Underground Ghost, a vicious killer who dumps his victims on or near trains. It's a case that involves both the Metropolitan Police and the violent crimes that will collaborate, through thick and thin, in this investigation. But it's not the only investigation underway; the Metropolitan Police also battle a skilled group of pickpockets called the Locusts!

Buenas tardes, amigos blogueros, aquí estoy de nuevo reseñando un drama que disfruté mucho. Catch the Ghost. Al principio, este drama no me inspiró. Empecé a verlo porque Amazon lo iba a eliminar, ¡y sorpresa! Me enamoré tanto que me devoré los episodios para terminarlo. Podría definirse como un thriller, comedia y detectivesco; tiene partes divertidas, pero también muchas serias. La serie se ambienta principalmente en el metro, y los protagonistas son agentes de la Policía Metropolitana. La serie comienza con un caso sin resolver: el Fantasma del Metro, un asesino despiadado que abandona a sus víctimas en los trenes o cerca de ellos. Es un caso que involucra tanto a la Policía Metropolitana como a los grupos delictivos violentos que colaborarán, contra viento y marea, en esta investigación. Pero no es la única investigación en curso; ¡la Policía Metropolitana también lucha contra un hábil grupo de carteristas llamado los Locusts! The main characters are Inspector Yoo, personally involved in the investigation because her autistic sister disappeared on the subway around the same time as the murders. She decided to join the police force to investigate her sister's disappearance, and Inspector Ko, the chief of the metropolitan police. Together, they form a strong but somewhat eccentric team. Officer Yoo is impulsive, with a strong thirst for justice and often resorts to less than legal methods to solve cases. Captain Ko is always on her side, saving her from trouble but also admiring her courage to the point of becoming very fond of her, too much for his colleagues. There are many funny moments, amusing gags and chases, but also a darker section dedicated to the train killer and the inspector's missing sister. This drama has a perfect balance between serious and hilarious moments. It tackles many important autism issues in a realistic manner and is truly intriguing. No episode is banal or boring, and the plot of the cases is very well developed. I really recommend it, it was a pleasant surprise for me!

Los personajes principales son la inspectora Yoo, involucrada personalmente en la investigación tras la desaparición de su hermana autista en el metro casi al mismo tiempo que los asesinatos. Decidió unirse a la policía para investigar la desaparición de su hermana, y el inspector Ko, jefe de la policía metropolitana. Juntos, forman un equipo fuerte, aunque algo excéntrico. La agente Yoo es impulsiva, con una gran sed de justicia, y a menudo recurre a métodos poco legales para resolver los casos. El capitán Ko siempre está de su lado, salvándola de los problemas, pero también admirando su valentía hasta el punto de encariñarse con ella, demasiado para sus colegas. Hay muchos momentos divertidos, gags y persecuciones entretenidas, pero también una sección más oscura dedicada al asesino del tren y a la hermana desaparecida del inspector. Este drama tiene un equilibrio perfecto entre momentos serios y desternillantes. Aborda muchos temas importantes del autismo de forma realista y es realmente intrigante. Ningún episodio es banal ni aburrido, y la trama de los casos está muy bien desarrollada. ¡Lo recomiendo de verdad, fue una grata sorpresa para mí!

Pictures source 🖤🖤

First picture edited by canva, translation with deepl.